Category: KPOP

[Review] DU DU DU – TAN

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The next rookie group to be covered is TAN, who one day I will revisit to review their more recent releases such as Louder, Walking On The Moon and Beautiful Lie (which will be released later this week). But for now, I will be focusing on their debut single, DU DU DU, which was released way back in February of this year. TAN is a project group, formed through the MBC survival shot, The Wild Idol. From the show, the final lineup of TAN consists of Changsun (current member of 24K), Taehoon (participated in CAP-TEEN), Jiseong (member of NTX), Sunghyuk (former member of RAINZ), Jaejun (former member of C-Clown, under the stage name Maru, and TREI), Hyunyeop, and Jooan (former member of We In The Zone).

TAN’s debut essentially has what I want in a debut song. There is a uniqueness to the song that allows DU DU DU to stand out from the pack, and this should do wonders to TAN as a strong foot forward. The unique aspect of the song is the acapella start and feature throughout the song. It is different to the reliance of synths nowadays and there is also an intriguing vibe at the same time coming from it. The acapella itself is rather low, and so the rest of DU DU DU is built around it. We get a groovy bassline (as pointed out with the deep voice uttering ‘bassline’) and a deep/thick vibrating synth as the backing of the part of the first verse. Interestingly, the acapella we get at the start of the song returns as a backing to the raps. This is quite unique and different to how acapella has previously be utilised in KPOP (from the top of my head). When we reach the chorus, we get more acapella in the background, a smooth and sleek melody made possible by the falsetto vocals and a more substantial beat that is in line with the groovy bassline. The second verse continues the groovy underlay of the song, but with more riveting vocals and rap. I am very into the opening line of the second verse, where the line is delivered without any instrumental backing. That was a cool moment in DU DU DU. There is also a bit of extra detailing in the instrumental in the second verse, which builds on the momentum of the song. In the bridge, we get a more focused piece from the main rapper and I liked how the instrumental changes into more of a hip-hop piece here. After that, a well done high note and a further change in instrumental without changing the melody or tone of DU DU DU. And after that, DU DU DU closes with the same acapella that opened up the song. With a solid showing of vocals and rapping from the group, and a song like DU DU DU, I am now confused to why I had put off reviewing this song earlier on in the year.

I am not entirely sure what to make of the music video. It begins with a member falling into the unknown, which raises a few questions. But the music video doesn’t really answer those questions. Instead, we get a bunch of different sets for the choreography and solo shots. It all looked good and artistic, but I wonder if there was a thread in which everything is connected. It feels like there is, given that artistic nature to it. But I can’t really pinpoint the connection. But aside from that, I liked the two colour tones of the video. One is the darkness that features heavily as the unknown I mentioned earlier. The second is an earthy brown (like the one we see in some of the choreography shots and the set of the featured image). An earthy brown isn’t my first pick of a core colour, but it definitely looks cool.

What an alluring performance piece. I never really paid attention to the live stages for DU DU DU, but watching it for this review tells me I have been missing out. They were quite charismatic and had stage presence. The synchronisation was top notch. I liked how the main members during the chorus snapped from non-choreography to the actual choreography within a blink of an eye. There is definitely potential for the group on the stage, and I can’t wait to review to see if their later releases reach/exceed this potential.

Song – 9/10
Music Video – 7/10
Performance – 9/10
Overall Rating – 8.4/10

[Review] MOVE – TNX

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Something I have been doing unintentionally this year is pushing song reviews for rookies aside to cover the bigger releases. So, as we are gearing towards award season (nudge nudge, hint hint), I thought I take some time to cover some more rookies. I kick things off with TNX (stands for The New Six), a six member male group under P Nation. The group was formed through the TV show LOUD and features Taehun, Kyungjun, Hyunsoo, Junhyeok, Hwi and Sungjun as part of its lineup. They debuted back in May of this year with the single MOVE and the mini-album WAY UP.

MOVE doesn’t offer anything new or make much of an impression on me – probably why it was bumped so often. And this is the biggest downfall of MOVE for me. It just felt like a standard electronic dance release from a multitude of male groups currently active in KPOP. If you were expecting something fresh, different or intriguing, than I would not recommend TNX’s debut. But if you are after a release that is mainstream, then MOVE is the release for you. Per usual, there were aspects of the MOVE that I did enjoy. But if you read through my blog, the things I am about to point out are pretty much common in other releases as well. I did like the thumping aspect of the instrumental, which gave off a dramatic flair. For this song, it was much needed to give the song some definition, which I thought was lacking in MOVE. The group shows off solid rapping and vocals through the verses and pre-choruses, respectively. There is some potential, but I just wished we got to hear them in a less polluted atmosphere (i.e. the instrumentation). Some definition (again) would have helped the members in MOVE, just so they sound and appear bolstered alongside that thumping and synths used. Talking about synths, the producers of MOVE used pretty ordinary ones throughout the song. I wished they went with more abstract or unique synths than the usual siren-like synth in the verses/choruses or the crunchy one in the choruses. The strings in the bridge were a nice addition, and I liked the way the instrumental concentrates in the final chorus. Moving onto MOVE‘s choruses, I felt the instrumentation overpowered the members, and again I wished there more definition. The hooks weren’t as memorable here, as opposed to the pre-chorus, which was disappointing. Overall, MOVE is a fair release. But I hope we get something better for their first comeback.

Again, the concept for this music video was pretty ordinary. It features a rebellion, lead by the members. The main reason to why I am describing the concept as ordinary, however, is due to the fact that we don’t get much of a backstory. Based on the ending, it appears the rebellion is successful, with the members leaving the lab without anyone hindering them. What I did like about the video was the striking nature of the colours in this video. Probably the most noticeable is the red coloured straps and jumpsuits donned by the members and the background people on the sterile white/light silver clothing and settings. The green (see the feature image) was also striking by dominating much of the set, and I liked the subtleness of the navy in some other scenes (though still striking enough).

Choreography wise, I think this is the strongest aspect of the debut. I really liked the aggression and energy behind the different moves throughout the performance. Their stage presence was definitely strongly felt. I also enjoyed the final sequence, where the song concentrates itself. We also see a similar effect in the performance.

Song – 6.5/10
Music Video – 7.5/10
Performance – 8.5/10
Overall Rating – 7.2/10

[Album Review] BETWEEN 1&2 (11th Mini Album) – TWICE

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The next album to be reviewed on the blog is TWICE’s BETWEEN 1&2, which is the group’s 11th mini-album since their debut in 2014. It was released at the end of August and is lead by the title track Talk that Talk. The release follows a few key milestones and comebacks, including the full group’s contract renewals with JYP Entertainment, Nayeon’s solo debut with POP! and a string of a few Japanese releases. It is also the group’s first release since last year’s SCIENTIST and Formula of Love: O+T=<3.

The name of the album, BETWEEN 1&2, feels quite fitting for the groupc, given the news that it comes about from the recent news that the all members of TWICE had renewed their contracts with JYP Entertainment. It possibly signifies that the group is currently about to embark on a second stage of their careers, with the first stage being the seven years that have just past. Others have speculated the album’s title refers to the bond that TWICE (i.e. 2) shares with their fandom, ONCEs (i.e., 1). Whatever the meaning, it is definitely something special for the group. As for the mini-album, I felt like it was somewhat of a mix bag. Some really good songs and less memorable songs. Give BETWEEN 1&2 a listen below and let me know if you agree or not.

Between 1&2 Teaser Image

1. Talk that Talk (Title Track) – Click here to read the full review of Talk that Talk. (9.5/10)

2. Queen of Hearts – The second track on the album is an all-English track, delving into the pop-punk side of music. I love the instrumental for Queen of Hearts, especially for the chorus, which went for a rock-like head-bang type of feel. The members handled the vocals quite well, overall, exuding a whole lot of confidence. Those high notes, whilst felt screechy at first, ended up being a highlight that I look forward to each time I play Queen of Hearts. However, I wished they went harder for the chorus, just to better complement the instrumentation. (9/10)

3. Basics – Basics is a little basic for my liking. It goes for a dance pop vibe, which I am completely fine about. Unfortunately, I didn’t really get much out of the track, as compared to the songs on this mini-album. I did like the more retro touch given by the synths at the start of the song and the beat when it came to the chorus. But the rest of the song, vocals and rapping felt plain to me. It is still a pleasant number, just not memorable enough. (6.5/10)

4. Trouble – Trouble is a very upbeat track, diving into the dance pop genre. This time around, however, the instrumental had a super lively and dynamic disco-like beat to it that made it so riveting and enjoyable to listen to. The choruses had a slightly explosive atmosphere to it, while the hooks made the song quite addictive and standout for me. The vocal work was solid. When it comes to the raps, Trouble takes me back a few years thanks the trap instrumental backing. It does detract from the momentum of the rest of Trouble, but I still enjoyed it. (8/10)

5. Brave – Brave tones down the mini-album once again with a less punchy track. But that doesn’t mean the song is a bad one. I actually quite enjoyed Brave. It opts for the synthpop genre and features a consistent set of vocals. It is still upbeat, but I would imagine a more delicate routine to accompany Brave and its vocals. Though it is still powerful enough to leave an impression, especially during the chorus. I really liked the percussion in the bridge, just because it adds some oomph to the song and gives the end a more fulfilling finish. (8.5/10)

6. Gone – The synth strings that begin Gone and are present during the verses are quite intriguing. It alludes to the electropop genre that the chorus deep dives and the song falls into. I do think this backing to the chorus was a bit much and at points overwhelmed the vocals. I kind of wished it was toned back slightly, just so the members are not competing with the instrumentation as much. However, I really liked the members’ use of lower tones throughout the single. (7/10)

7. When We Were Kids – Finishing off the mini-album is When We Were Kids, which falls into ballad territory. Despite the ballad label I have given the song, we are not talking about slow or classical instrumentation. The instrumentation features a paced beat that pulses along in the background, while the vocals were dreamy and invokes a nostalgic tone to come to life. I love the harmonies when the title is repeated. Overall, When We Were Kids felt fitting as the final song on an album that is between two segments of their career. (9/10)

Overall Album Rating – 8.2/10

Between 1&2 Teaser Image

[Review] 28 Reasons – Seulgi (Red Velvet)

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From the final comeback of the week to one of the first. This post focuses on Red Velvet’s Seulgi, who made her solo debut on Monday was 28 Reasons – the title of both the lead single and debut mini-album. This is the first major release from a member of Red Velvet, since their Feel My Rhythm promotions from earlier in the year.

28 Reasons explore some dark and mature sounds, going further from even Red Velvet’s darkest releases. The song is described as a bass-heavy pop dance track. There isn’t much else to the instrumental aside from some whistling and crunchy gurgles effects during the chorus, so the background acts more of a blank canvas due to its minimalistic vibes. Though, it definitely sets the dark tone of the release. This idea of a ‘blank canvas’ enables Seulgi to really take reign in 28 Reasons, showcasing her powerful and stunning vocals that aren’t usually shown off in her group releases as it is done so here. I liked how she offsets the heavy bass with her vocals, which draws you in and doesn’t make 28 Reasons too heavy to digest. I also really enjoyed it when Seulgi amped up her vocals during the chorus, which instantly adds additional oomph and body to 28 Reasons. It does get slightly dry in the second verse, with no further build up occurs and begins the idea of the the song drying out as it progresses. You have to wait for 28 Reasons to reach the mid-point of the bridge to hear it briefly change momentum with a complete stripping of the background, replacing it even with a more vibrating synth and Seulgi rap-speaking in the bridge. This is soon followed with an amazing high note, before reverting back to the same chorus but with extra oomph through what seemed liked an additional layer of vocals on top of what we heard earlier on in the song and ad-libs that follow on nicely from that high note. I do feel that 28 Reasons could have used something more within the background, particularly in that second verse region, just to give it that different feel and give the song more momentum. But overall, 28 Reasons is a good solo debut track that highlights Seulgi’s strengths.

Just like the song, the music video explores dark and mature territory with a very moody, edgy and haunting concept. The moody and edgy sides comes in abundance throughout the video, through the choreography shots and solo moments. I liked how they also share a minimalistic vibe (just like the song) with a very spacious backgrounds and sets with not much going on. The haunting imagery comes during those scenes where Seulgi stands in the grass between transmission towers. In particular, that scene at the very of the video where she stares into the camera. The video, overall, pretty much sums up the song in a visual manner.

I read somewhere recently that the hand actions in the choreography of 28 Reasons was inspired by the Scarlet Witch’s hand motions in Wandavision. That is pretty cool and a nice little crossover for someone who enjoys both KPOP and Marvel Cinematic Universe. I really enjoyed how smooth her movements were. Her charisma and charms were also on full display throughout the performance, making it a captivating stage to watch.

Song – 8/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.5/10

[Review] CASE 143 – Stray Kids

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Now onto the new releases of the week. There were a few comebacks that need to be covered, but I am starting off with the latest one. Well, because it is Stray Kids. That’s right, Stray Kids made their comeback yesterday with the new title track CASE 143 and their 7th mini-album, MAXIDENT. This comeback follows their MANIAC (Korean) and Circus (Japanese – yet to be reviewed) comeback from earlier in the year and their newest mixtape release, Time Out.

CASE 143 was a mildly confusing song at first. But the more listens I gave it, the more interesting and less confusing it became. CASE 143 is primarily a playful and fun track, but it also taps into the heavy hip-hop sound we got in MANIAC at times. The two don’t usually go together, but I am not surprised that Stray Kids made it work. The choruses is where CASE 143 is most playful and fun, with a descending melody that is, without a doubt, an addictive feature of the overall song. I also enjoyed how the lyrics were delivered in a syllable-paced manner, which added to the addictiveness of chorus and CASE 143. It does give off a repetitive vibe that might dull CASE 143 in the long run, but I am not too worried about this yet. The verses is where CASE 143 takes on that heavy hip-hop influence, which is pretty synonymous with Stray Kids. I don’t have any issues with the very contrasting sides of the song, simply because the lighter feel of the chorus allows the rappers to really be slightly more playful than usual with their rap delivery in the verses. Take Chan’s sequence in the second verse as an (extreme) example, which ended up gearing towards the lighter and perky side of CASE 143. Aside the rapping, CASE 143 also features some decent vocal moments that we don’t usually get in a Stray Kids title track. The vocal melodies in the pre-chorus and bridge were much smoother than usual and works well with the lighthearted side of CASE 143. Lee Know’s lines in the bridge in particular feel so lovely. The last aspect of the song that I really enjoyed was that entire final sequence (i.e. from the 3 minute mark of the music video), where CASE 143 pretty much falls into place and finishes off in a satisfying manner. Overall, a slightly different take on Stray Kids, but still a fun and addictive song.

Stray Kids continues to battle big monsters in this music video. Their Thunderous days saw them fight the Sound Monster. In this video, the police version of Stray Kids (the more serious side of the group) investigates and tracks down the Heart Monsters (not entirely sure if there is a name for them). These Heart Monsters appear adorable, but they seem to take over their host’s minds (i.e., the version of Stray Kids in more colourful clothing) by weakening them to be cute and also cause havoc (i.e., causing Felix to flip the table and the place ends up on fire and some late night graffiti). The police gets pretty far into their investigations and tracking down the liar of the Monsters, unplugging the power source of the Heart Monsters. But it appears the Heart Monsters have taken full control of the all versions of the members in the video. The appearance of the group at the very end (i.e. when they crash out the video/screen) maintains the serious side of the group via their black outfits, but the way the members carry themselves are lighter and carefree, which suggests that the Heart Monsters also got to the police version of the group. Aside from the plotline, the video features amazing post-production (i.e., editing and CGI), which adds that cute and playful side to the video. A great video, overall.

The energy and powerful side of the choreography peaks towards the end of the song (at the similar part mentioned above) and this serves as my favourite part of the whole performance. On top of that, I quite liked the waves in the earlier choruses and the 2PM Heartbeat reference in the choreography.

Song – 8.5/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.6/10

[Review] FIRE – EXID

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An artist whom we have not heard from for a while now is EXID. Their last Korean release was back in 2019 with ME & YOU, which followed the news that some members would be leaving their company at the time (Banana Culture) and an agreement between the members that EXID would go on hiatus to focus on solo endeavours. The group did remain active throughout 2020 in Japan, however. Last week, EXID regrouped to release the single album X and the title track FIRE to commemorate their 10th anniversary as a group since their debut back in 2012.

For those are not aware, I am a very big fan of EXID – even for releases that pre-dates their viral Up & Down. So to hear news that the group would be returning and releasing new music was quite exciting for me. However, FIRE is not like their any of their past hits. Instead, it slips back into pretty mediocre territory, which is slightly disappointed with. It would have been nice to hear music that reminisces over their past hits like Up & Down, Ah Yeah, I Love You etc. But given that this is their first release in three years, I am still pressing the replay button to the song. FIRE starts off with (and features prominently throughout) an ethnic influence, which I personally find to be a dated trend in KPOP. Hani and Elly (formerly LE) leads the charge into FIRE with an underwhelming interchange of vocals and raps. I wished their parts were more bolstered and defined, just to add some dynamism. Hyelin and Solji’s melodic pre-chorus comes next and this was by far the best part of FIRE. Then FIRE‘s chorus comes into play, which is is set up to be only instrumentation with the minimal lyrics. There isn’t anything wrong with this, but I felt a title like FIRE would have alluded to something more ferocious or electric. And I wished that the chorus, of all places, would have reflected this. At least the ‘Burning Up‘ sequence of the chorus does pick up the song to a degree to just add a bit of dynamic flair to the song. Junghwa’s main part occurs in the second verse. If you have not noticed from Hani’s vocal delivery (or the chorus sequences of the music video), FIRE is a mature comeback and Junghwa’s part really reiterates that. The amazing pre-chorus repeats, before we are taken to the 1st bridge, 1st half of the chorus and then 2nd bridge (which probably featured the cringiest set of lyrics in the song) and ending it all with the second half of the chorus (i.e. the ‘Burning Up‘ sequence), which helps end FIRE on a more dynamic note. Overall, FIRE is definitely not their best song ever. But it is still bearable and I would still take the song over no song any day.

As mentioned before, the concept for this comeback is sexy and mature. And this is a major selling point to the comeback in my opinion. The member’s visuals were charming and alluring throughout the video, and I am loving all of it. The only questionable element of the comeback is the prison location. I assume it was part of the producer/director’s vision for this comeback. Aside from that, I was burning for some fires in this video, probably due to the lack of energy I was getting from certain points in the video. This wish was fulfilled when that car exploded in the background. Some dynamic camera work at the end helped add energy to the video. I would have liked more, but what they did at the end was satisfying and fulfilling enough.

When it comes to EXID and their releases, you think of their key dance moves. If you were into KPOP in early 2015, you would know all about EXID’s Up & Down hip thrust move. And each subsequent comeback had a key move like so. FIRE does have that potential, with the hip movements in the first half of the chorus. I also quite liked the way the members were spaced out for the final sequence of the song, as it forces the camera to zoom out to capture everyone. And with the dancers circling Hani, Solji’s high note, LE’s vocals and Hani, Junghwa and Hyelin fast arm movements, it all comes together to look epic.

Song – 7/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.5/10

[Review] Drip N’ Drop – MIRAE

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Next up on the blog is the review for MIRAE’s latest comeback, Drip N’ Drop, which dropped last week on Wednesday. Drip N’ Drop is the title track off the group’s fourth mini-album, Ourturn, which also was released on the same day. This is the group’s first comeback since their Marvelous promotions earlier this year.

Following the likes of Marvelous is going to be a tall order to fulfil in my opinion. That is a song that really kicked off the year on a strong note for me, so there is high expectations for Drip N’ Drop. So the big question is – do I think Drip N’ Drop lives up to the expectations? Unfortunately, my answer is no. I think Drip N’ Drop has a few weak points that takes it down a notch when compared to Marvelous (and I will explain which ones in a bit). Despite that, let me iterate that Drip N’ Drop is in no way a bad song. I actually enjoyed the deep house and a funky underlay that makes up Drip N’ Drop‘s instrumentation. They are trends in KPOP that we have heard before and the combination of both is not new unexplored territory. But I liked the powerfulness behind the instrumental, which helped add a bold factor to Drip N’ Drop. Talking about making things bold, I also really enjoyed the way the song bolstered up the title of the song to make it the main hook. The layering of the vocals was quite simple, but it also felt clean. I am also a big fan of the percussive effects used to launch the song from the bridge into the final chorus. It added a really dynamic factor to the song and also ticks the box of including something different to keep the song from feeling neutral and/or repetitive. The lack of melody in Drip N’ Drop is what disappoints me the most me. I feel the producers could have really used melody to add more hooks to the choruses to make Drip N’ Drop more appealing. As with the lack of melodies, this left the members with not as much opportunity to shine in Drip N’ Drop. But aside from these factors, I still enjoyed Drip N’ Drop.

The helmet from Marvelous music video makes an appearance in this video, and I had previously theorized that the members were all friends on Mars once. Based on the ending of this video and what I just expressed, it appears MIRAE are going home. This connection is only a small one, however, as the members send messages to each other throughout the video, presumably to converge to that final spot for the spaceship off-screen to teleport them away. Aside from that theory of what is going on in the video, I actually quite enjoyed the prominent colour theme of the video – blue. I thought it was going to be much, but they kept it refined and aesthetic. I also enjoyed that moving background for the main choreography shot.

The choreography was pretty good. No particular move or section stood out for me, but the performance as a whole is still worth watching.

Song – 8/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 8/10

[Review] PARTY ROCK – CRAVITY

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Next up in my pursuit to review the releases of last week is CRAVITY, who returned with their fourth mini-album, New Wave. Leading the mini-album is the single PARTY ROCK. This comes after CRAVITY pre-released their first English single Boogie Woogie and their Adrenaline comeback from earlier in the year (featured on the second part of their first studio album – Liberty: In Our Cosmos).

PARTY ROCK embraces CRAVITY’s upbeat and fun side of funky pop once again, following a similar sound profile to the likes of Adrenaline. However, when you compare the two tracks together, you definitely feel a noticeable difference. Adrenaline comes off as a much tighter and hefty compared to this new release. On the other hand, PARTY ROCK comes off as much lighter and looser, which makes that fun and upbeat feel so much more natural and easygoing. And this just nudges PARTY ROCK forward on the rating scale for me. The chorus had great bright and appealing energy that brought a smile to my face. The members do a good job of bringing all that energy to life and makes the central piece of PARTY ROCK vibrant enough. I do feel there is potential for the members and producers of PARTY ROCK to have taken the chorus to the next level with bolder delivery and a more concentrated instrumental to just make the chorus a more prominent peak to the song. But what we were given is sufficient enough, as it managed to still get me to enjoy the song. I am loving the “We go jumpin’, party rockin’, never stoppin’” line, being my favourite and pick of most memorable line out of the whole song. That hook (and the rest of the hooks throughout PARTY ROCK) were super catchy and definitely ups the fun factor. The weakest aspects of PARTY ROCK were the verses, simply because they didn’t have much of a memorable zing to it. Had this been the case (and the chorus was just a little more leveled up), PARTY ROCK would have been a top notch song. As for now, it is still a great single for CRAVITY.

The music video that accompanies the release of PARTY ROCK was decent to watch. But there wasn’t much to really talk about from it. From what I could see, it is just another video where the members are having a bit of fun. Throw in some choreography shots and solo shots, and that is pretty much the video for this release. Even the usual elements that I do mention or touch like post production, sets, outfits or visuals were all pretty standard. In other words, it feels like a video which concept has been seen and done many times before.

The choreography for this comeback is just like the song – fun. Nothing too mind-blowing or innovative here, but everything feels lighthearted and easygoing. My favourite move out of the entire routine coincides with my favourite line that I mentioned earlier (also my favourite moments in the music video).

Song – 8/10
Music Video – 6/10
Performance – 8/10
Overall Rating – 7.4/10


[Review] Brand New – XIUMIN (EXO)

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As you might have noticed, I had not posted any reviews for any releases from last week. So this week will be an extra big week to catch up on those outstanding releases from last week on top of reviews for the new releases this week. Only then will I be able to review the even more outstanding releases that have been stockpiling. First up is XIUMIN with his solo comeback with the Brand New single and his solo debut mini-album that shares the same name as the lead single.

Whilst XIUMIN’s solo ventures have primarily come from OSTs or SM Station releases (i.e. Young & Free with Mark from NCT and You), Brand New encroaches onto new territory for the relatively new solo artist. Brand New is super upbeat dance track, kicking right into gear from the very start with the catchy and vibrant chorus chant that features prominently throughout the single. I like how this same chant brings forth old school vibes in the song and adds a energetic dimension to Brand New. The lyrical component of the chant is a bit questionable for what Brand New is trying to achieve in terms of the song’s meaning, but I like it more for the addition of much needed oomph to the song. XIUMIN was in charge of the rest of the vocals in the verses. And his vocals sounded so pleasant throughout Brand New. I did wish the melody was a bit heftier and had more body, just so that XIUMIN himself could have stood out more prominently. Alternatively, the bass could have been turned down a fair bit. It drowned out XIUMIN a certain parts of Brand New. But overall, Brand New is a fun and cool track at times, but also pleasant and soothing during other times.

Based on the song’s description, what I could get could out of the lyrics and the different scenes throughout the music video, my guess is that the video depicts the creation and delivery of a present that is XIUMIN himself. But apart from that, it is a fair video to watch and accompany the likes of Brand New. Nothing too mind-blowing, but not terrible in anyway where it deters me from watching it. It also has been a while since we have seen XIUMIN in the public eye (at least it has been a while for me), so it is great to see him again (and be reminded of his stunning visuals).

The choreography was pretty good. I really enjoyed the chorus of the routine, when the energy of the song and routine is at its peak. But I also enjoyed the smoothness of the dance choreography during the verses, as well.

Song – 8/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.7/10

[Album Review] SEQUENCE (1st Special Single Album) – WJSN

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As mentioned in the previous album review post, this is the second of two single album reviews that I will be posting to round out the week of album reviews before I return to the usual schedule for album reviews (first one will actually be will be published tomorrow, after I failed to post this review yesterday). WJSN is the focus of this post, alongside their first single album SEQUENCE. This was released back in July and is their first major comeback since their Queendom 2 win early on in the year. The single album features a total of three tracks, including the title track Last Sequence.

I think with the final overall album rating I have given SEQUENCE (scroll towards the end of the album review to see my rating for the single album – I won’t spoil it here), it is needless to say that I really enjoyed the single album. And with such a rating, SEQUENCE, becomes one of the best album releases of the year (despite having much less songs compared to their competition to work with). Do you agree with me? Let me know in the comments below.

SEQUENCE Album Cover

1. Last Sequence (Title Track) – Click here to read the full review for Last Sequence. (9/10)

2. Done – The chorus of Done was, without a doubt, the highlight of the song. The deep bass house instrumental was quite an unexpected and subtly intense surprise to the song, given how the song started. The slightly autotuned and muffled vocals that began the chorus was quite trendy and cool. Yeonjung’s vocals in the latter half of the chorus contrasted really nicely with the bass element of the chorus, feeling vibrant and gives Done so much more colour. I also enjoyed the use of the brass synth at the end of Done, which gave the song that additional element to make sure the song is not too similar from start to end. Its presence only at the end of Done felt just right and helped solidified the mature vibes of the song. (10/10)

3. Stronger – Stronger is a ballad duet, featuring Dawon and Yeonjung. With these two members are the helm of the song, it comes as no surprise that it is a stunner. The instrumentation for this ballad is quite atmospheric and feels inspirational. The vocals were heavenly. They didn’t rely on powerhouse vocals, which I personally thought was interesting. I kind of wished they did go down that path to an extent, but I feel their approach still has impact and gives Stronger a … well, strong and sound profile. (9/10)

Overall Album Rating – 9.3/10

[Album Review] Villain: ZERO (2nd Single Album) – DRIPPIN

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I will be rounding out my week full of album reviews with two single albums (two, as they are very short). I will return to the usual transmission of album reviews on Mondays, Wednesdays, Fridays and weekends starting this coming Wednesday. The first single album I will be looking at today is DRIPPIN’s mid-year comeback with Villain: ZERO. This is DRIPPIN’s second single album since debut and their latest comeback following their VILLAIN mini-album from earlier in the year. The single album features the title track ZERO and two additional side tracks.

I think my even and consistent rating of 8/10 throughout the single album, and hence adoption as my final overall album rating is indicative of the group’s potential in the long run (when you also look at DRIPPIN’s past releases). Sure, an 8/10 might not be the highest rating for an album before. But it still points towards some strong songs. Hopefully, DRIPPIN can receive a stronger title track and album release for the next comeback to gain a stronger presence in KPOP.

Villain: ZERO Album Cover

1. ZERO (Title Track) – Click here to read the full review for ZERO. (8/10)

2. GAME – DRIPPIN doubles down with a very serious toned dance track, in the form of GAME. I found this track to be decent, with DRIPPIN’s solid delivery of the song. The pop instrumentation was mixed with tropical elements to create a strong and intense atmosphere. I just wished there was a bit more oomph to the song. GAME could have benefited from have a bolder hook, as opposed to the more vocally smooth hook we got in the song. GAME also could have emphasized some parts, just so the seriousness could have been concentrated. (8/10)

3. Trick and Treat – Re-entering the rock genre is Trick and Treat, who went with a grungier and abrasive profile this time around. It was more upfront with its intensity, compared to the title track. The chorus goes for a more shouty anthem-like chant, which makes sense, as the intention is to heighten the energy we are already getting from the instrumentation. The verses were a bit forgettable unfortunately, even though they go down more of a pop path with these verses. The bridge was probably the most energetic part of Trick and Treat, kicking off with an impressive high note from Hyeop. It will definitely make for a really dynamic and cool dance break in the live performances. (8/10)

Overall Album Rating – 8/10

Villain: ZERO Teaser Image

[Album Review] SMARTPHONE (2nd Mini Album) – YENA

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And the week long album reviews continue with this post being focused on YENA’s second mini-album, SMARTPHONE. The mini-album was released at the start of August, alongside the title track of the same name. Alongside the title track are four additional side tracks. SMARTPHONE follows the release of YENA’s debut mini-album, x‿x (SMiLEY), from very early on in the year.

YENA’s debut mini-album was a standout for a debut act. This time around, I feel YENA’s album release was a bit more typical, but it is still a fairly strong album release nonetheless. The SMARTPHONE title track was by far my favourite from the mini-album. Do you agree with me? Let me know in the comments below.

SMARTPHONE Album Cover

1. Make U Smile – Starting off the mini-album is a ballad. Usually, ballads are kept for the end of the album, but it isn’t unheard of for ballads to be place in the front of the release. YENA sounds really beautiful throughout Make U Smile. I liked that she sings in both low and high registers, and that her vocals were quite airy. The instrumentation was quite soothing and dreamy. (8/10)

2. SMARTPHONE (Title Track) – Click here to read the full review for SMARTPHONE. (9/10)

3. WithOrWithOut – YENA revisits the punk genre with WithOrWithOut. You might remember the likes of Lxxk 2 U from her first mini-album, which was also delved into the punk genre and was a favourite of mine. WithOrWithOut is a bit softer around the edges, but it still has that nostalgic feel to it. Of course, this song is best during the chorus when the energy is at a high, and the bridge was super awesome. Her brief stints of rapping in the bridge in particular were awesome. (8.5/10)

4. Lemon-Aid – Lemon-Aid goes down the pop path. The instrumental alone was already extremely enjoyable and just hits right, for me. The energy that YENA and the instrumental comes together to form successfully brings a smile to my face. YENA’s vocals are cutesy and I am not too troubled by this. Her rapping was probably the weakest aspects of the song, especially in the pre-choruses. I wished they were just vocals in a similar manner to elsewhere in the song. (8/10)

5. U – The final song on the album is U, and this is probably the style I would have expected from YENA from the very start of her solo career. The pop instrumentation was fun and YENA’s vocals were quite cutesy sounding. It is just a bit too sweet for me personal taste, but it was still a neat way to round out the mini-album. (7/10)

Overall Album Rating – 8.1/10

SMARTPHONE Teaser Image

[Album Review] AURA (6th Mini Album) – Golden Child

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The next album review on the blog this week is for Golden Child’s sixth mini-album since their debut, AURA, which was released in August of this year. This mini-album features the title track Replay, an intro track and 4 additional side tracks. AURA follows the group’s Japanese debut and first comeback, the military enlistment of Daeyeol and the group’s Korean releases of Ra Pam Pam and DDARA from last year.

It comes as no surprise to me (and it honestly should not be any surprise to any of you) that Golden Child has put out another strong album with AURA, as evident by the extremely high rating I gave the mini-album at the end of this post. I really enjoyed every track on the mini-album – from the title track to the intro track (and everything that follows these two tracks). Both AURA and Golden Child deserves more attention!

AURA Album Cover

1. AURA – The mini-album starts off with a very elegant but mature sounding instrumental piece. It builds up from deliberately slow and paced beat, infusing some electronic synths and brief flute work into the instrumental, but peaking with crunchy vibration at the very end. It is definitely moody throughout and sets the scene for the rest of the mini-album.

2. Replay (Title Track) – Click here to read the full review for Replay. (9.5/10)

3. Knocking On My Door – My high hopes for this Golden Child album release comes to fruition with Knocking On My Door. It is the song that made certain that the mini-album would find a place on the agenda for an album review. I love the seamless flow of this track, and the consistently dynamic chorus. The brightness from the synths did the song a solid, giving the song a very refreshing and breezy feel. The rapping added a nice and palatable touch of textures. But it is the vocals that left me most impressed with Knocking On My Door. Y and Joochan’s vocals in the chorus were amazing, and the ad-libs we got at the end just sealed the deal to make this track one of the album’s highlight. (10/10)

4. 3! 6! 5! – 3! 6! 5! ups the energy exponentially with this fun and very vibrant track. Without a doubt, it fits into the summer season just perfectly. And it is incredibly hard to not dance to this song whilst listening to it and I always a find a wide smile on my face following a listen to this song. The harmonies give 3! 6! 5! so much boldness, while the rapping added such a fitting level of edginess and grooviness to the song, all at the same time. And the hooks in the song are so catchy and so easy to get into. Another undeniable highlight. (10/10)

5. Purpose – Purpose starts off as a much softer track, as opposed to the song preceding it. The melodies and verses frames the song as a mid-tempo pop song. But the choruses of Purpose ended up being quite impactful with the combination of the pop and heavy synths. The synths almost overwhelm the vocals, in my opinion. But the vocalists just manage to push through and stay on top. They do sound nice, but I think a bit of refinement would have helped Purpose a lot. I quite like the rapping in this track, especially in the second verse when there wasn’t any backing to the rapping. (8/10)

6. Miracle (완벽해) – The mini-album ends with a glitchy EDM dance track. This brings the energy of the album right back up, and possibly to new highs on this mini-album when the instrumental is most relentless. The choruses were decent, and I liked how the melodies/vocals kept the song grounded. I kind of wished the hooks in the chorus were a bit more memorable, but what we were presented is definitely fine enough. The rapping in the second verse was super cool and gave off a super edgy feel. The verses settled for some less crunchy synths and a funky underlying bass – both leads well into the choruses. (8.5/10)

Overall Album Rating – 9.2/10

AURA Teaser Image

[Album Review] CHECKMATE (5th Mini Album) – ITZY

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ITZY is the next group to be getting the album review treatment this week. In particular, I am looking at ITZY’s fifth and most recent mini-album since their debut. Titled CHECKMATE, the mini album features both the Korean and English version of the title track, SNEAKERS, and an additional five tracks. This is the first album review for the group, since their first studio length album release in September of last year.

CHECKMATE is an okay mini-album. I get the impression that listeners got more out of the mini-album, whereas I enjoyed the title track more (compared to the rest of the mini-album). Interestingly, the original album cover (which featured the queen chess piece) was replaced with the pink album cover you see below. Personally, I feel like the pink album cover is terrible and I much prefer the original album cover – even if the concept didn’t match the title track. I guess I am against the world with this review. Let me know if you agree or disagree with me.

CHECKMATE Album Cover

1. SNEAKERS (Title Track) – Click here to read the full review for SNEAKERS. (9/10)

2. RACER – For me, the coolest aspect of RACER was the chorus. This is thanks to the trap hybrid instrumentation and edginess it brought out of the song. In addition, the start of the second verse (i.e., with the autotuned muffled vocals) follows a similar vein. Unfortunately, the rest of the song does not live up to the same standard as the already mentioned parts. It all pretty much felt typical and cliché to me. The vocals and rapping didn’t elicit much from me, and I felt the groans at the end of the hooks were very cringy. (6/10)

3. WHAT I WANT – WHAT I WANT settles for an electro-pop instrumental. I feel the cool and trendy descriptions that could not be applied to the entirety of the previous song can be applied to the entire instrumentation of WHAT I WANT. I particularly like the strong infusion of pop during the pre-choruses through the vocal melodies and the layering of instrumentation in the final chorus. Throw in some catchy repetitive hook that are keyed into your memory bank once this song is over, and you basically have a strong track. (8/10)

4. Free Fall – Free Fall begins with dramatic thumps that alludes to an intense atmosphere. At first, I thought this meant the song was going to feature a mature change up to the album. But we don’t get that whatsoever. ITZY brings their usual bright and youthful energy to Free Fall. But they do so in such a firm matter that any thought of the song being mature was long forgotten and that bright/youthful energy they bring takes full control of the song. The ‘Weee’ we get throughout the choruses were cringy at first, but I ended up warming up to them a fair bit. I am quite surprised I enjoyed this song. (8.5/10)

5. 365 – 365 builds on what was alluded in the previous song, just without the initial dramatic start. As a result, this makes 365 the darkest sounding release on this album. It features an EDM instrumental that sounded like it had mechanical, metallic and robotic sound effects. The members themselves bring a hip-hop energy to the song. I did wish the song had bolder hooks and a more prominent peak, just to potentially take itself to a higher level. (7/10)

6. DOMINO – DOMINO’s instrumentation moves towards pop rock territory, but it just feels a tad on the pop side. The vibrant energy that comes from the instrumentation fits perfectly into the summer season. There was some good rhythm to the song, and the melodies were quite pleasant. I did think the vocals could have used a bit refinement. I personally felt during some parts the members were really pushing themselves, and I wished the producers took a moment to rethink those moments. It was slightly uncomfortable to listen to, if you really hone into the details. (8/10)

7. SNEAKERS (English Version) – Refer to the full review of SNEAKERS above.

Overall Album Rating – 7.8/10

CHECKMATE Teaser Image

[Album Review] Geekyland (4th Mini Album) – PURPLE KISS

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Next up on the week long of album reviews is PURPLE KISS’ Geekyland, their latest mini-album release. Geekyland and its title track Nerdy was originally released on 25 July 2022. This min-album features another 4 tracks and an intro track alongside Nerdy. Fun fact (and proof that I really dropped the ball on album reviews this year), but a couple of weeks following Nerdy‘s review, I reviewed PURPLE KISS’ third mini-album, memeM, from way back in March of this year.

Once again, PURPLE KISS put out a strong mini-album. I think their past few releases have also been of a similar calibre, and so PURPLE KISS has proven to be consistent and full of potential, just like what I had indicated in their memeM album review. Just like that mini-album, Geekyland also features one 10/10 track. Keep on reading to find out which song that is.

Geekyland Album Cover

1. Intro: Bye Bye Bully – The intro track was an ideal track to precede the title track that follows it. Bye Bye Bully’s instrumentation features a spooky vibe whilst also being trendy and modern. The vocals work was sleek, working well with the instrumentation. If there was anything to take away from this intro track, it is that PURPLE KISS knows how to the set the scene. (8.5/10)

2. Nerdy (Title Track) – Click here to read the full review for Nerdy. (8.5/10)

3. Fireflower (불꽃) – Fireflower was a pleasant dance track. I liked the different influences within the background, from the brief cultural sample at the start and the complimenting moombahton instrumental for the chorus. The vocal work was quite alluring to listen to. The rapping in the bridge was a highlight and I wouldn’t mind hearing more of that in the song. In addition to wanting that, I did want some more oomph to Fireflower, just so everything we get in Fireflower is heightened and an even more exciting vibe comes from the song. (8/10)

4. Can’t Stop Dreamin’ – There are two sides to Can’t Stop Dreamin’. On one side, we have a dreamy atmosphere come about during the verses. The dreamy nature comes about from the harp-like synth in the trap-centric instrumental. On the other side, a dynamic infusion of energy comes through the choruses. The two sides work well with one another, creating a harmonious dance track. The hooks in this song were strong, with a solid set vocals and great delivery from the members. A favourite of my mine from this mini-album. (9/10)

5. Love Is Dead – We continue that spooky vibe from the first two songs in Love Is Dead through a fun and groovy rock track. I quite enjoyed the use of their raspy/husky vocals in the song, which gave them a mature profile. But it also plays towards that spooky vibe I just mentioned. The rapping in the second verse was perfect for this song, aligning with the raspy vocals and bought an edgy factor to the song. The hooks within Love Is Dead was super catchy and memorable, help making it a highlight on this mini-album. (9/10)

6. SuMMer RaiN – The song tones down and completes the album with an acoustic R&B number. And I found it so nice and soothing to listen to. The deep voice in the background was a surprising element, however, and the idea of it doesn’t work with acoustics whatsoever. But somehow, it fits into snuggly into the background. The vocals were very delicate and soft, bringing out the melodies really well. Some of the melodies feel a bit haunting, which I guess is the song’s connection to the rest of the mini-album. The rapping was superb and I love the rhythm it brought to the song. (10/10)

Overall Album Rating – 8.8/10

Geekyland Teaser Image

[Album Review] The Wave OF9 (11th Mini Album) – SF9

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Okay, I lied. Yesterday’s review was not an album review. But it was pre-scheduled, before I decided to make this week full of album reviews. But the rest of the reviews this week (through to Monday) will be album reviews. Next up is SF9’s 11th mini-album, The Wave OF9, which was released back in July of this year. It features the title track SCREAM and five other side tracks. This comeback also is the first comeback from SF9 of a reduced lineup, with Inseong, Youngbin and Rowoon sitting out for different reasons.

The Wave OF9 had the potential to have some 10/10 songs, but I just wasn’t exactly satisfied by how the songs turned out. Interestingly enough, it all came to do one member. I wonder if you can guess which member that was. I don’t mean to single them out or blame them for my personal ratings of the songs, but I found it intriguing that this member was the reason to why I held back from giving these songs a 10/10. Otherwise, this mini-album is pretty good. Per usual, let me know if you agree with my thoughts/ratings below.

The Wave OF9 Album Cover

1. SCREAM (Title Track) – Click here to read the full review for SCREAM. (8/10)

2. OK OK – The soft and airy vocals of OK OK make this song feel so enjoyable. The synth-pop instrumentation and melodies aids the vocals, creating such a pleasant tone for the song that ensures the soft vocals shine. Zuho’s rapping was probably the most questionable aspect of the song. I admit that his rap does offset the softness of the song and adds a bit of oomph to keep the song from feeling too consistent. But I feel like his part was too abrasive for the grander picture that is OK OK. Maybe he should have somehow smoothed out his lines to just fit in better with the rest of OK OK. (9/10)

3. Summertime Bounce (Don’t Kill My Vibe) – I find myself singing along to the super catchy hook of Summertime Bounce. It is just so easy to get into and to get lost in. Again, the intro and verses were quite pleasant, never really encroaching over a certain threshold that would have allowed me to describe the track as dynamic. But there was a nice beat to it. The choruses were unexpectedly trendy, featuring some constricted electric guitar that just transform pleasant into groovy. The latter half of the choruses do go over that threshold I mentioned, and rounds out the chorus with a refined yet dynamic bounce. Once again, however, Zuho’s rapping was overwhelming for this song, but I did like the way Summertime Bounce transitioned back into the final chorus. (9/10)

4. Driver – I am reminded of past KPOP songs while listening to Driver. It doesn’t ping me of any song in particular, but rather there is a sense of familiarity to the song. Aside from that, Driver features a groovy dance instrumental, catchy hooks and solid efforts from the members. I am particularly happy to say that Zuho fits into this song nicely and doesn’t overwhelm. I also find the song to be quite sleek and very enjoyable. (8/10)

5. Crazy Crazy Love – Crazy Crazy Love brings a retro touch and disco influences to the mini-album. I really liked the consistent groovy energy of this track, while the ‘Oooh Oooh Oooh’ were super catchy. Chani’s rapping in the first half of the pre-choruses is so alluring to listen to, while the vocals brought vibrancy to the song. The actual more substantial rapping sequences were cool, while I got a nostalgic vibe from Jaeyoon’s vocals in the bridge. (8/10)

6. Butterfly – We end the album with a track that features a fairly busy and noisy instrumental. There was a lot going in the background in Butterfly. But all of this brought character and profile to the song. I did think the pleasantness nature of the vocals was a poor choice, resulting in the vocalists sounding weak and lacking momentum. The rappers, on the other hand, stands out with a strong and powerful rap sequences, and I feel their parts are on par with the instrumental of Butterfly. (7/10)

Overall Album Rating – 8.2/10

The Wave OF9 Teaser Image